Architectural Acoustics

Prof. Sumana Gupta

Department of Architecture and Regional Planning
Indian Institute of Technology, Kharagpur

Lecture – 12
Panel Absorbers and Resonators

So, today, we will continue with the absorbers. In the previous lecture, we had discussed
what absorbers are, and we had a good understanding about porous absorbers; which,
actually behave as a frictional absorber, trapping in sound and the sound moves through
it, and gradually the sound gets attenuated within that system. And a part of it gets
reflected back towards the audience, that is, those who are receivers.

Now, today, we will look into two more types of absorbers, which are the panel
absorbers and the resonators.

(Refer Slide Time: 01:06)

So, already I have told you that through vibration, the panel absorbers work. And,
similarly in resonators also, the sound gets trapped into it, then resonates inside the
system and gets lost.

So, we will get into the details of these, and we will try to look into them one after the
other. As we have already told that we consider those materials which are having
absorption coefficients of around 0.2 as reflectors. Panel absorbers are nothing but thin
sheets of metals, or plywood, or any kind of lamina that may reflect that sound, but in the
process through vibration, can lead to sound absorption also; we will try to see that, and
its applications also.

(Refer Slide Time: 02:09)

So, panel absorbers are nonporous lightweight sheets, solid or perforated; they may be
freely suspended, and that may lead to some oscillating motions. So, if we think this as a
panel, there is a hole, and if we can hang this, this material can move with sound; I am
just increasing, and this can lead to fictional vibration, and that will lead to sound energy
losses. So, it may act as a reflector, but at the same time through the vibration, it is
absorbing sound. They may be fixed; they may be freely suspended, as I have shown; or
they may be fixed similar to that of the porous absorbers what you have seen.

So, there a to and fro motion will happen. So, we will come to those, and it can be fixed
with an air cavity behind it, it can be fixed with an absorbing material behind it, as you
have seen in case of the porous absorbers. The material may be fiberglass, glass wool,
mineral wool, as I have shown, and those are not very good. So, if they are covered
totally with panel absorbers, it serves the purpose of not being exposed to the people or
the audience who are there.
(Refer Slide Time: 03:39)

So, what is happening? The incident sound wave on an unbacked panel (nothing is
around it), will be set into motion as you can see the two arrows are there, and the sound
will simply (due to mass reactance) induce the motion, and that will help the system to
vibrate, and absorb some amount of sound.

So, it is mostly seen in large open spaces hung from the ceiling. So, they can be hung in
the form of sheets from the ceiling, and they will vibrate, dissipate sound; these are also
termed as acoustical baffles and are ideal where sound deflects from a hard surface.
Acoustic baffles look good, remove echoes from large rooms, particularly large ceilings.
Where do we encounter such large ceilings? Being architects, you must be wondering!
Yes, those are in arenas, gymnasiums, theatres, multipurpose halls, and even in
auditoriums.
(Refer Slide Time: 04:42)

So, you see the panels are hung on hangers, and if you look into the other aspect; it
improves the speech intelligibility, it helps in reducing the sound intensity level, it also
reduces the reverberation time in the process. So if this kind of metal sheets are hung
from the ceiling of gymnasiums, sports arenas, which are very economical, but is very
much required where a loud sound, large audience clapping occurs, then that kind of
sound should not lead to echo, but needs to die down.

So, this sound intensity level can be controlled, if the ceiling is full of such kind of
panels which are called “baffles”, and you can see such demonstrations.
(Refer Slide Time: 05:50)

So, you see baffles suspended in ceilings of gymnasiums; where do we see such ceiling
banners? These are mounted from the structural system, which is usually made of iron
trusses, and those baffles are suspended. You see that on the lower part they have the
convex shape.

So, they are acting as sound reflectors and diffusing the sound into the audience, mostly
in auditoriums. So, you can have these ceiling banners, which will be set on vibration,
and absorb some amount of sound and will put in (throw) diffused sound into the system.
So, the audience will receive the diffuse sound, and at the same time, some portion of the
sound will get absorbed.

So, there can be different methods of mounting; you can see one kind of mounting with
the ceiling. In this way, you can also avoid some air-condition based sound, which can
be moving through the ceiling by placing such baffles or banners.
(Refer Slide Time: 07:16)

So, when they are not suspended directly; these non-porous panels are placed in front of
a solid surface with no contact between the panel and the surface; the panel can be
moving back and forth but is resisted by the air spring force.

So, what we can see here? This panel is having an air gap behind it, and this panel is set
to a to and fro motion in between because of the presence of this air gap. Let us see it at a
closer distance. So, what is happening when the incident sound is falling on top of it?

(Refer Slide Time: 08:18)

The mass of the panel m, is set in a to and fro motion, which is supported at the two
points and this is placed at a distance d. What we see that lesser is the d, the closer is the
panel towards the structural wall; we see the frequency that is targeted will be more and
more. So, this equation, this simple equation has been calculated out through the
principles of sound physics; I am not going into the details of that, neither you require it,
but what understanding is required is, that if you want to target a particular frequency;
you can change either m or d.

So, either the distance can be changed, or the mass of the panel can be changed. So, if m
is high, that means, your denominator is high. That means 600 divided by higher
denominator; you will get a lower frequency trapped. So, at the same time, you have to
understand that sound energy should be sufficiently enough to move that. So, you cannot
go for a very high mass item; you have to go for a thin item instead, within which a little
change in mass m can decrease the frequency; if the mass is higher or by changing the d,
that is increasing the d which is also at the cost of the space.

Because d is against the structural wall, that is, if you move some few centimeters here
and there, the total calculation of the sitting arrangement can change. So, you have to
make a solution between your choices, that is between mass (m) and distance (d) from
the structural wall while you are doing the space planning (that is the sitting
arrangement) of that area. Keeping that in mind, you have to decide upon the d and the
m, and you can go for trapping in lower or smaller frequencies and can effectively
increase that just by putting an absorber inside it.

So, that helps in further reduction of sound, and here we get the equation, that is

500
f  . So, what we see just by putting a padding (which is an absorbing material)
md
inside it such as fiberglass wool, or mineral wool in stuffing inside it; you can change the
frequency to a further lower extent which is our objective frequency. So, the material
remaining unchanged, the target frequency can be changed from case A to case B just by
adding an absorber.
(Refer Slide Time: 11:31)

So, that is what we can do; similarly, mounting the panel similar to that of a porous
absorber. We can mount it with this mineral wool in one of these pores, or we can mount
it without anything (that is air on top of it).

So, this will give two different graphs, and the panel absorber of this type is usually used
to tap low frequencies, and they are also used in studios and control rooms.

(Refer Slide Time: 12:10)

So, here you can see how the difference is happening, if you see the point A and the
point B; A is with the backing of fiberglass blankets inside it and B is without it. So, at
this low-frequency range, that is between 63 to 125 quadrant, you can see that A is
behaving far better than B.

So, as I have shown you how to stack in a mineral wool blanket, which is available in
batts (that is big sheets), they can be put into, or stuck into such framework, which is
shown in your left-hand side. And it is also observed that with a change in this particular
filling in material, that is fiberglass, and given a choice of mineral fiber, we will see
fiberglass is more effective at a higher frequency, compared to mineral fibers; while
mineral fibers are more effective in lower frequencies.

(Refer Slide Time: 13:30)

And this is the graph that has been generated through experiments, which also speaks of
the same thing.
(Refer Slide Time: 13:40)

So, after this understanding of panel absorbers, we go to the resonators. In panel

absorbers, we saw we can trap in frequencies of, in the lower end, which was not
possible for the porous absorbers to do. Porous absorbers are more effective between 250
to higher, that is 2000, 4000 Hz, but panel absorber is a choice for 250 to lower part, but
if we are going for specific frequency absorption, we will see that resonators at the best
fit.

We have Hermann Von Helmholtz, the picture of him shown here, and he has invented
this. It is a special type of air spring oscillator; it is enclosing inside a volume, having a
small neck and an opening at one end. So, you can see this is the small neck, here is the
opening, from where the sound is entering into the cavity. And the frequency which it
can trap is dependent on the volume of the cavity (that is how big the cavity is), and
inside that, the sound resonates (moves between the walls) until it dies down. So, it has a
bearing on the distance (that is the length of the neck), the volume inside, and the orifice
(hole) through which the sound is entering into it.

So, all these three forms the equation which gives the target frequency using the formula

c0 A
fn   Here c0= the velocity of sound (for air we consider 340 meters per
2 V L
second), and thus we can find out our target frequency, but is it possible to put such
things everywhere? We have to look into how we can make use of this into our system.
So, we can take help of this resonator into our system by creating objects which will be
helpful for us.

We see this elongated portion (that is the neck), and this length has a bearing within the
formula also. And if we have perforations, then we can gauge the length of that, the
thickness of that material plus some allowances on the front, through which the sound
gets channelized into the cavity. The sound inside undergoes a “resonance”, that is
rebounding in between the surfaces, and finally, it dies down.

I have mentioned that in the book of Vitruvius, there are references of inverted pitchers
that were kept below the audience; if you remember (you can go to the lecture 1, and
again revisit that principle over there). In Hagia Sophia (church) also, there were such
circles, which were visible, also believed to be used as resonators; hence, they probably
had a good understanding during that time (Eastern Roman period) too.

So, with an increase of neck area, we can increase the frequency, whereas, we can
decrease the frequency by varying the volume or the length of the neck. So, if we are
targeting a lower frequency, we must have very small a, and in reality we do not have
necks, but perforated sheets instead.

(Refer Slide Time: 17:36)

So, these perforated sheets are neckless, where the thickness of the perforated sheet acts
as the “neck” with the allowance of the sound getting channelized and getting out.
Considering that as the neck length modified frequency calculation could be made using

c0   a2
fn   . So, in a perforated plate, the perforations form small cubes of
2 V   l0  1.7 a 

air which have a mass, and thus a mass reactance to the sound wave takes place, this
entire mass of air moves into the cavity, which is created through the gap, gets trapped
into it, gets resonated, and gets lost.

So, that is the principle how the resonators work; here you can see that these are the
perforations; this is the picture of a perforated plate; unfortunately, I could not get an
actual plate for showing you.

(Refer Slide Time: 18:40)

So, it is a perforated plate, and you can see the distance e also, that is how close the
perforations are, which also have a bearing on it.

The distance d (how far it is placed) is also having a bearing, and inside it maybe there is
an insulation (packing of mineral fiber), or may not be so (just plain air), then also it will
resonate. V is the volume behind the behind the structural framework; it is not the
volume of the room.
(Refer Slide Time: 19:33)

And you can create many such resonators with wood; you can get such kind of cavities,
into which, the volume V is inside. So, the sound enters this and thus goes inside the
cavity.

So, an array of such a system can help. Now here you see two graphs are there; the first
one that is A, when it is having a porous absorber inside it; it does not trap in much of the
sound in the desired frequency (that is 125 to 250 Hz); but without the porous material,
(that is when you have increased the volume V of within this part); the absorption has
gone high, the lower frequency getting trapped in (that is between 125 to 250 Hz),
something around 175 Hz is peaking up. So; that means, for this particular box, the
volume is made for that particular frequency (around 175 Hz), which is getting trapped
inside, but was not getting much trapped earlier when the porous absorber was there.

So, volume V has increased, and the frequency f has decreased and has targeted this 175
Hz, say which is the frequency that was targeted. Whereas, it was behaving more like a
porous absorber earlier when it had this insulation (when it had this material inside it).
So, the volume was reduced, and the purpose or the principle was different.

So, case A is having more of a nature of a porous absorber where sound has entered into
it, reduce the volume of the space, whereas curve B is while targeting a particular
frequency of say around 175 Hz; in this particular case, where the volume V has
effectively increased just by removing the porous material, and in the market we get such
kind of sound box units.

(Refer Slide Time: 21:44)

So, these are standard concrete blocks with slotted cavities of the same volume and size.
These are all of the same kind of volume or size which are pushing the air into this cavity
by the process of resonance, the sound frequencies which are targeted are hence getting
trapped inside.

So, these products are based on the Helmholtz resonator principle and are commercially
available for us, and these are usually made of concrete they may have fibrous infill; they
may have metallic septums (that is, breaks in between) to create the chambers and so
forth. So, commercialization of these items which are working under the principle of
resonators are available, and we see the target frequency is mostly below 250 Hz.
(Refer Slide Time: 22:50)

Now, we come to another very important item, which is the “anechoic wedge”. What
happens here, these are used to get almost no sound reflected. So, these are triangular
pyramidal wedges, as I had shown you earlier in the form of an egg crate, you can see an
egg crate in front of you which are having pyramidal surfaces to hold the eggs. What
happens here, the sound gets reflected multiple times in between these wedges.

So, these wedges are trapping in sound closely at very rapid intervals, and almost the
entire sound gets absorbed. So, here you can, have a look of this anechoic wedge which
is used for particular purposes, mostly in recording studios and anechoic chambers, such
as in the hospital, where you have to do checks of your ear (how good you are able to
listen), you have to have an environment where there is no noise or no outside sound
coming in. There you will find the presence of anechoic chamber, and it is more into
other areas, we will come to those later, I am not going into the details; this is how an
anechoic wedge looks.

So, every bit of the sound gets in, if it is lined all over the entire place; where you want
to create an anechoic chamber. There will be no echo, no rebound of sound; but you have
to pack the room with such units densely. This is how an anechoic wedge works.
(Refer Slide Time: 25:05)

So, after having all these understanding, we will find plenty of application of slit-slat
resonators, which is also working by the principle of resonance. Now on, you must try to
be aware, wherever you visit, try to see your surroundings whether there is any treatment
present. If you happen to go to a theatre in a hall, try to see what is there; you will see
plenty of application of slit-slat resonator. These slats and the grooves designed creates a
trap for the low-frequency resonator. Let us try to see how it is doing so.

(Refer Slide Time: 25:50)

So, you see it is similar to the system: we have a big formula over here,

r
f  2160  and we have the slat, which is nothing but a wooden
 d  1.2  D    r  W 
member fixed on top of a system. The gap (slot width) is denoted by r; you can see that
is the slot width, that is the spacing of those wooden bars of width w, are placed at a
distance r. And these slats are having a depth of d (lowercase d), and the entire
subsystem is placed in front of a structural wall at a distance D (uppercase D).

So, if I can define all these things, you can understand it. What you see in front of you is
an array of wooden members of a specific width and a specific depth placed at a distance
interval r, against a hard surface. So, in this way, what is happening?

(Refer Slide Time: 27:30)

Small slots are created; and within those, the sound gets lost; apart from the vibration is
happening, whatever material is capturing, whatever absorption is happening; particular
frequencies are getting trapped into those slots. You can calculate this frequency. So, we
see a big formula, which is not much big when you put into put values to it, and we will
see how it varies.

(Refer Slide Time: 28:17)

First, you have to convert all the millimeter values to inches. Then you should use the
inch values with the formula to calculate the absorption frequency.

Now, by varying r (the gap) while keeping everything unchanged, what do we see? If we
calculate the frequency with r =10 mm (that is, the gap = 0.39 inches), and these are
constant, d = slat depth, w =slat width, and D =distance from the wall. You see with r;
we get the target frequency =276 Hz. If you change the gap (r) to 20, the target
frequency becomes 373 Hz.

So, other things remaining constant if you space them, your target frequency is getting
higher. And if we see the next one, where the gap is 1.18 inch (30 mm); we get target
frequency =439 Hz. So, it is increasing from initially 273, to 373 Hz; now it has gone up
to 439 Hz. So, every gap there is a jump of frequency. So, is it a good idea to control?
Let us see what happens with other parameters; so, varying d all other remaining
constant.

So, we keep r =0.39 inches (equal to 10 mm) because we are targeting lower frequency.
So, f=276 Hz was when r = 0.39 inch (10 mm) and d =1.18 inch (30 mm), but we see
when, r =0.39 inch (10 mm), others remaining constant, and d has gone down to 0.39
inch (10 mm); we see the target frequency f= 478 Hz; then with d as 0.79 inch (20 mm),
that is the thickness, the target frequency has gone down to 338 Hz, and with d as 1.18
inch (30 mm); we have that as 278 Hz. So, if you have very thick depth, then our target
frequency gets lower and lower, are you getting it?

So, the target frequency gets lower and lower if the depth is more and more (the cavity is
deeper and deeper); so if you have a deeper cavity the target frequency will be lower, but
we cannot afford such deep things, because we have to work with space. Let us see what
happens when D varies ( that is the structural depth varies).

So, we have one case at the top where the D =3.94 inch (100 mm), r = 0.39 inch (10 mm)
and d =1.18 inch (30 mm); we have the frequency 278 Hz. So, when just we increase by
approximately 1 inch, that is from 3.94 inch (100 mm) to 4.92 inch (125 mm), ahead of
the entire system mounting. So, we see the frequency increases from 276 Hz to 334 Hz
when r and D have both increased; Also the frequency 373 Hz has reduced to 334 Hz;
when only D has increased to 4.92 inch (125 mm). And further, we see that when D has
changed to 5.91 inch (150 mm), we see that the frequency has gone further down. So,
what does this implicate? That higher the gap you get lower the frequency, but that is
against the space which I have already told. So, we have to work out how much we can
give.

[NOTE: The above five paragraphs has now been revised and corrected]

So, it is not one particular solution to the general problem; you have to look into how
much you can afford space-wise, how much you can afford towards the depth, though
market available things are there, then, in that case, you can just change the mounting
distance and play. If you are making your own thing, you can change the depth; you can
change the gaps, you can change the slot widths, slat widths, and carry on.

So, by increasing r, frequency increases, by increasing d, frequency decreases, by

increasing big D (that is the distance between the wall and the thing), also frequency
decreases, but what happens when we increase w? That is your task; we may explain it in
the next lecture, but I would request all of you to go through this lecture and try to solve
what is happening? So, this slat width w; when it is changing, how much change is
happening to the result? That is our target frequency. So, I hope you understood all these
points; here you see d is the “effective depth” of the slot, which is considered as 1.2
times the actual thickness of the slat.
So, whatever thickness you have, you multiply it with 1.2; that number 1.2 is for
channelization; what I told in resonators, you have air getting channeled into it. So, you
consider that 1.2 as the multiplier factor of the depth, to satisfy the fact that it is
channelizing from a little ahead. You are taking care of that situation through this 1.2.

So, I hope you understood it, and I expect that you will report what happens when w
changes; is there any effective change; or no change? Whether it is increasing or
decreasing? So, I leave you with this task, and I would request all of you to bring
calculators when you sit for the next lecture (that is lecture 13). You should have a pen
and paper with you so that you can work out and verify whether you are getting the same
results, which I am going to present it to you. So, that will help you to get along with the
topic.

So, that will make it more interactive; so, I also intended to show you by increasing w,
what is the effect that happens? Maybe we can do it if we get some spare time; almost at
the closing part of this particular module.

(Refer Slide Time: 36:19)

So, in this lecture, we understood that (if you can recall this slide), by use of different
types of absorbers we can handle different frequencies. Porous absorbers help in taming
the 250 to 4000 Hz area whereas, the bass frequency, that is from 250 Hz and below; we
can tame it by the use of resonators and panel absorbers.
So, it is our challenge to deal with sound to the extent. It does not affect or compromise
with our sitting space, our comforts, etc., but creating a bad sound inside a space is also
very annoying. So, I expect that you will be continuing with lecture 13 with calculators,
pen/ pencil, and paper.